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Shloka 39

ते प्रयाता व्यरोचन्त परानभिमुखास्त्रय: । हूयमाना यथा यज्ञे समिद्धा हव्यवाहना:,शत्रुओंकी ओर जाते समय वे तीनों तेजस्वी वीर यज्ञमें आहुति पाकर प्रज्वलित हुए तीन अग्नियोंकी भाँति प्रकाशित हो रहे थे

te prayātā vyarocanta parānabhimukhās trayaḥ | hūyamānā yathā yajñe samiddhā havyavāhanāḥ ||

Sañjaya said: As those three set out, facing toward their enemies, they shone brilliantly—like three fires in a sacrifice, kindled and blazing when oblations are poured into them. The image underscores how the warriors’ ardor is being fed by the very act of going to violence, as if war itself were a grim ritual that intensifies their destructive power.

तेthey/those
ते:
Karta
TypePronoun
Rootतद्
FormMasculine, Nominative, Plural
प्रयाताःhaving set out, departed
प्रयाताः:
Karta
TypeAdjective
Rootप्र-या (धातु: या) / प्रयात (कृदन्त)
FormMasculine, Nominative, Plural
विरोचन्तshone, appeared radiant
विरोचन्त:
TypeVerb
Rootवि-रुच्
FormImperfect (Laṅ), 3rd, Plural, Parasmaipada
परान्enemies/others (the opposing side)
परान्:
TypeNoun
Rootपर
FormMasculine, Accusative, Plural
अभिमुखाःfacing toward
अभिमुखाः:
Karta
TypeAdjective
Rootअभिमुख
FormMasculine, Nominative, Plural
त्रयःthree
त्रयः:
Karta
TypeNumeral
Rootत्रि
FormMasculine, Nominative, Plural
हूयमानाःbeing invoked/offered into (receiving oblations)
हूयमानाः:
Karta
TypeAdjective
Rootहु (धातु) / हूयमान (कृदन्त)
FormMasculine, Nominative, Plural
यथाas, like
यथा:
TypeIndeclinable
Rootयथा
यज्ञेin a sacrifice
यज्ञे:
Adhikarana
TypeNoun
Rootयज्ञ
FormMasculine, Locative, Singular
समिद्धाःkindled, blazing
समिद्धाः:
Karta
TypeAdjective
Rootसम्-इध् (धातु) / समिद्ध (कृदन्त)
FormMasculine, Nominative, Plural
हव्यवाहनाःfire(s) that carry oblations (Agni)
हव्यवाहनाः:
Karta
TypeNoun
Rootहव्यवाहन
FormMasculine, Nominative, Plural

संजय उवाच

S
Sañjaya
T
three warriors (trayaḥ)
E
enemies (parāḥ/śatravaḥ implied)
Y
yajña (sacrifice)
H
havyavāhana (Agni; sacrificial fire)

Educational Q&A

The verse uses sacrificial-fire imagery to show how intention and momentum can intensify moral danger: when warriors move toward violence, their power can flare up as if ‘fed’ by the act itself. It invites reflection on how war can mimic ritual certainty while still being ethically fraught, especially in the Sauptika context of nocturnal slaughter.

Sañjaya describes three men setting out toward the enemy camp. As they advance, they appear radiant and formidable, compared to three sacrificial fires blazing when offerings are poured—foreshadowing the destructive action that will follow in the Sauptika Parva.